We did a reading of As You Like It yesterday, and the question of the best marriage in Shakespeare came up again.

Here’s what I had to say last year in response to Cesario, a fellow blogger who suggested that it was the Macbeths:

I’ve heard Harold Bloom express this opinion, and I get the equal partnership aspect, but I find their relationship too dysfunctional and codependent to pay them this compliment. The title “Best Marriage in Shakespeare” is a dubious honor, but I think I’d have to go with Brutus and Portia. They seem like they have a really strong relationship. The fact that it can be torn apart by the assassination is a testament to the earth-shattering significance of that event. We won’t count the marriages at the end of the comedies, because who knows how they’ll fare?

But now, I turn the question over to you.

What’s the best marriage in Shakespeare?

P.S. Cesario is currently annotating the text of Hamlet, scene by scene, on her blog. Check it out.

Bing Miller put me on his meme list, which is kind of like the blog version of a chain letter.

Post a picture or make/take/create your own that captures what YOU are most passionate about for kids to learn about…and give your picture a short title.
Title your blog post “Meme: Passion Quilt” and link back to this blog entry.
Include links to 5 folks in your professional learning network

So I’ve thought about it, and I decided to go with this image of the Globe theatre stage.

I want my students to understand that they can be performers in the world and not just audience members. I want them to understand that they can write things that affect other people. I want them to know they can have a voice in the world. I want them to learn that they way things are now isn’t the way things have always been, so they can understand that things don’t always have to be the way they are now.

My title is “Totus Mundus Agit Histrionem.” All the world’s a stage.

I invite Benjamin, Kenneth, Lee, Mike, and Ro to continue the conversation if it would please them to do so.

So I started Cymbeline with the 8th grade class today. I posted a request for suggestions yesterday, but the answer was staring right back at me from the post itself. Show the students the Taming of the Shrew video that the 11th grade students made.

We did a basic K/W/L activity on Shakespeare and the teacher was so impressed by her students’ prior knowledge that she decided to let the students choose the play. But they didn’t really know very many plays, though one student remarked that Romeo and Juliet was “so played out.”

I showed them the Shrew video, and invited them to discuss at their tables how they would do the project differently. They came up with some great ideas, and earnest critiques of the project. They also decided that they wanted to do The Taming of the Shrew. Yeah, because Romeo and Juliet is “so played out.”

We discussed some other plays, including As You Like It and Othello, which seemed to be strong contenders. One of the students asked about Cymbeline, and the teacher gave a brief description of the opening situation with Imogen, Cymbeline, Posthumous, Cloten, and the wicked Queen. I talked about how Iachimo bet Postumous that he could seduce his wife. The teacher described with some detail how Iachimo was able to “win” his bet, as it slowly dawned on me why we don’t teach this play. Still, it’s Shakespeare, and we’re totally going to get away with it. I described the beheading of Cloten, and now all the students want to do Cymbeline.

So we ended up where we started on the play, but at least the students now have ownership of the choice. I’m looking forward to seeing what they do with it.

UPDATE: The project has been completed.

When director Kenneth Branagh set the opening speech of Henry V in a movie lot, he was announcing a new philosophy for putting Shakespeare on film. This philosophy is well explored in his latest film, As You Like It. It’s not a perfect film, but I greatly enjoyed watching it, and I expect to give it many more viewings in the near future and likely for years to come.

Shakespeare was writing for the stage, but Branagh has the ability to show with vivid action events that Shakespeare could only describe. In some cases, that worked well, like in the exciting palace coup in the beginning. In other cases, I missed Shakespeare’s language. Believe it or not, actually seeing Orlando wrestle with the lion was far less satisfying than those times when I’ve heard Oliver describe it.

Branagh set his film in Japan, a bold choice that is supported by an on-screen description of 19th century British enclaves in Japan. This had the potential to draw a much sharper distinction between those fleeing the court and the rustics of the forest. However, Branagh contrived to allow Corin and Audrey to remain English. Both actors did a fine job, but an opportunity was lost. Phoebe and Silvius seemed to be English actors of Asian descent. Only the character of William truly embodied the potential of setting the play in a 19th century Japanese forest. I was left wondering why the film was set in Japan at all. Still, the external trappings of the Japanese setting were visually impressive. I enjoyed the ninja soldiers and Charles as sumo wrestler, the Japanese characters and kimonos, but in the end, there seemed to be very little actual consequence to choosing Japan as a setting.

I enjoyed most of the performances, but I feel that Phoebe and Silvus were botched, in that their relationship was not well articulated. I would not have minded if the issue was simply that they didn’t remain faithful to the play, but I didn’t know what they were supposed to be. Most troublingly, the lines explaining the “bargain” between Phoebe and “Ganymede” in the end were cut, and so we don’t even know why Phoebe is marrying Silvius. In general, there were more script cuts than I generally like to see, but again, Branagh is adapting for another medium and we must allow for the conventions of film.

I’ve always felt that Rosalind carries this play on force of personality, and Branagh found a wonderful Rosalind in Bryce Dallas Howard. Adrian Lester is brilliant in everything he does, and this is no exception. But the real standout for me was Brian Blessed in the double role of Duke Senior and Duke Frederick. As the former, he is able to set one of the main themes of the play – the contrast between the false court and the natural world of Arden. As the latter, he movingly demonstrates the transformation and ultimate redemption of the evil Duke in a way that I’ve never seen before, nor found more satisfying.

As You Like It continues to run on HBO. I highly recommend checking it out!

Kenneth Branagh’s new film of As You Like It premieres tonight at 9pm on HBO, and will continue to run for at least the next month. Be sure to check it out!

I did a history and a tragedy, so now I have to do a comedy.

From As You Like It:

All the world’s a stage,
And all the men and women merely players:
They have their exits and their entrances;
And one man in his time plays many parts,
His acts being seven ages.

Shift around the letters, and it becomes:

My sane ashen melancholy gentleman harshly says an existential narrative wellspring and, with a serene rhythm, anticipates the modern stage-based development ideas.

At the risk of appearing like I’m trying to out-geek the Shakespeare Geek, here’s another list.

You’ve seen my top 25 favorite plays and my top 25 favorite scenes (then expanded to 50). Here are my top 50 favorite characters (or groups of characters) from Shakespeare’s plays at the present moment. Enjoy! And feel free to add to the conversation, especially if I’ve left some of your favorites out!

50. The Nurse (Romeo and Juliet) - The play may be a tragedy, but the Nurse is one of the great comic roles in Shakespeare.

49. The Duke of York (Richard the Second) - The remaining son of Edward III is so loyal to the King, he’ll turn in his own son as a traitor.

48. Sir Toby Belch (Twelfth Night) - Think Falstaff without the good manners. Half the time he’s plotting; the other half he’s drunk.

47. The Prince of Morocco & The Prince of Arragon (The Merchant of Venice) - It’s hard to tell which of these two suitors to Portia is more unsuitable, or more hilarious.

46. Dogberry (Much Ado About Nothing) - The muddled constable of the watch who bumbles his way into uncovering the evil plot!

45. Helena (All’s Well That Ends Well) - I’ll never understand what a quality woman like Helena sees in a loser like Bertram. Sigh.

44. Richard the Second (Richard the Second) - Too much philosopher, not enough king. But divine right is divine right. Isn’t it?

43. Philip the Bastard (King John) - When you’re already a bastard, who cares what people think of you? Certainly not Philip.

42. Polonius (Hamlet) - He may be a rash, intruding, doddering old fool, but his madness has a method to it. I think.

41. Beatrice and Benedick (Much Ado About Nothing) - You can’t have one without the other. Sharp banter hiding a deep affection - very cool.

40. Portia (The Merchant of Venice) - Unlike some love interests, Portia is actually worth the winning, and not just for her money.

39. Puck (A Midsummer Night’s Dream) - The mischievous sprite who doesn’t mind helping mortals at times, as long as it’s funny.

38. Mercutio (Romeo and Juliet) - The madcap kinsman to the Prince is a grave man when caught between the two houses.

37. Lucio (Measure for Measure) - This guy is a riot from beginning to end, but slandering the Duke to his disguised face rules.

36. Marc Antony (Multiple plays) - His funeral oration is a masterpiece, but his most powerful line? “I am dying, Egypt, dying.”

35. Viola (Twelfth Night) - Her disguise-as-a-boy plan plunges her in over her head, but she handles it all with grace.

34. Brutus (Julius Caesar) - This was the noblest Roman of them all, deeply conflicted and ultimately his own undoing.

33. Cloten (Cymbeline) - Proud, arrogant, foolish, entitled, and a bully, Cloten is nothing but a suit and a title. Fun!

32. The Earl of Kent (King Lear) - Deeply loyal to the King who has banished him, Kent has something to teach us all.

31. Malvolio (Twelfth Night) - He didn’t really deserve what he got in the play, but he is a Puritan, after all.

30. Jacques (As You Like It) - He’s probably bipolar, but he’s a deep thinker and a keen observer of the human condition.

29. Caliban (The Tempest) - Caliban’s antics are a lot of fun, but I’m more interested in his backstory and its meaning.

28. The Weird Sisters (Macbeth) - Do you think the three witches predict the future? Or do they cause it?

27. Tranio (The Taming of the Shrew) - A servant, who we mostly see playing gentleman. At the end, he’s back to waiting tables.

26. Lewis the Dauphin (Henry the Fifth) - We’re shown Henry’s suitability to be the next French king by seeing a weak Dauphin.

25. Isabella (Measure for Measure) - After all she’s been through, the Duke gives her one final impossible test. She passes.

24. Petruchio & Katherine (The Taming of the Shrew) - When an irresistible force meets an immovable object, somethin’s gotta give…

23. Emilia (Othello) - She’d make her husband a cuckold to make him a king, but won’t cover for his wickedness.

22. Iachimo (Cymbeline) - This “Little Iago” is clever and dishonest, and starts up way more trouble than he means to.

21. Enobarbus (Antony and Cleopatra) - A loyal soldier who can’t support Antony’s self-destructive course, and dies of shame.

20. Goneril & Regan (King Lear) - The wicked ones turn on their father, their husbands, their sister, and finally, each other.

19. Jack Cade (Henry the Sixth, Part Two) - This rough-hewn pretender to the throne would abolish money and kill all the lawyers.

18. Helena (A Midsummer Night’s Dream) - My heart just goes out to Helena, who is such a sweet person and gets rotten treatment.

17. Prospero (The Tempest) - The Duke of Milan, and wise old master of knowledge, books, and the elements of nature.

16. Hamlet (Hamlet) - The melancholy Dane helps us understand that murky place between thought and action.

15. Queen Margaret (Multiple plays) - With an amazing character arc that spans four plays, Margaret puts the “It” back in bitch.

14. Rosalind (As You Like It) - Let’s face it - Rosalind carries the whole plot on force of personality. We like her, so it works.

13. Macbeth (Macbeth) - From noble warrior to homicidal maniac, Macbeth experiences an incredible transformation.

12. Bottom (A Midsummer Night’s Dream) - The megalomaniac actor! We can all recognize him, but do we recognize ourselves in him?

11. Cleopatra (Antony and Cleopatra) - She’s a strong, empowered woman who’s not above using sex as a political tactic.

10. Edmund (King Lear) - A charming villain - all honor on the outside, and evil on the inside. What a bastard!

9. Othello (Othello) - A complex and passionate character, who loved (and trusted) not wisely, but too well.

8. Sir John Falstaff (Multiple plays) - A drunk, a theif, a liar, a glutton, and a pure hedonist. And those are his good points.

7. Duke of Gloucester/ Richard the Third (Multiple plays) - Since he cannot prove a lover, he is determined to prove a villain!

6. Shylock (The Merchant of Venice) - The Jewish moneylender may be the villain, but Shakespeare shows us his human side.

5. King Lear (King Lear) - Is dying the worst thing that can happen? What about having it all and watching it fade?

4. Prince Hal/ Henry the Fifth (Multiple plays) - Shakespeare traces England’s great hero from his wayward youth to his victory in France.

3. Lady Macbeth (Macbeth) - An equal partner in evil to Macbeth, and a force to be reckoned with. But then she breaks.

2. The Fool (King Lear) - The Fool balances that fine line between jesting clown, and sharp commentator on events.

1. Iago (Othello) - The hands-down, pure evil incarnate, puppet master general. But why does he do it?

Based on the overwhelming response to yesterday’s post listing my top five and twenty favorite scenes from Shakespeare, I’ve decided to post my next five and twenty favorite scenes from Shakespeare. The standard disclaimers apply.

50. Antony and Cleopatra: Act 5, Scene 2
The captured Cleopatra has been placed on suicide watch. But she has a poisonous asp smuggled in, and delivers the fatal wound to her bosom. “Does thou not see the baby at my breast,/That sucks the nurse asleep?”

49. Macbeth: Act 5, Scene 5
In the heat of battle preparations, Macbeth receives news that his wife has died. He allows himself a reflective moment where he ponders the meaninglessness of brief life. And for that moment, we remember that this monster was once a human being with the capacity for reason and love.

48. Richard the Third: Act 3, Scene 7
In the final stages of his plan to seize the crown, Richard orchestrates a show where his friends and lackeys beg him to be king, and he says no. Finally, he relents. “I am not made of stone.”

47. Henry the Fourth, Part Two: Act 5, Scene 5
Now that his buddy Prince Hal has become King Henry the Fifth, Falstaff thinks that he’s going to play a very important role in the new administration. Falstaff has another think coming.

46. As You Like It: Act 3, Scene 2
This is a somewhat varied scene, and a lot of fun things happen in it, but the main point is that, having discovered that Orlando is writing love poems to her and hanging them on trees in the forest, Rosalind decides to allow him to believe she is a boy, and offers to cure him of his love by pretending to be his love.

45. Henry the Sixth, Part One: Act 2, Scene 4
In the Temple garden, partisans of the King and of Richard Plantagenet pluck red and white roses respectively to show their support. Could this lead to war? And what might we call such a war?

44. Macbeth: Act 1, Scene 3
Returning from battle, Banquo and Macbeth are greeted by three witches who predict that Macbeth will become Thane of Cawdor and then King. Then, messengers from the King arrive and tell Macbeth he has just been named Thane of Cawdor. Things that make you go hmmm…

43. Hamlet: Act 3, Scene 2
Unsure whether or not to trust the ghost’s word, Hamlet stages a play mirroring the circumstances of his father’s death, so he can watch his uncle’s reaction. Does the plan work? Big time. And Hamlet’s famous advice to the players is in this scene, too.

42. Henry the Sixth, Part One: Act 4, Scene 5
The great Lord Talbot fears that his forces will be defeated in tomorrow’s battle. So he sends for his son, young John Talbot, and tells him to flee before the battle. John refuses, and they debate in rhymed couplets. It’s not a long scene - go read it.

41. King Lear: Act 1, Scene 4
The banished Kent returns in disguise and offers to serve Lear. We meet the Fool, whose jests reveal both a fondness for Lear and a bitter disapproval of his actions. Lear’s curse on Goneril at the end makes the scene extraordinary.

40. Henry the Fifth: Act 2, Scene 2
Henry has discovered three traitors among his officers. Before revealing this, he asks them what the penalty should be for traitors. His own oratory in this scene is powerful.

39. Julius Caesar: Act 4, Scene 3
Brutus and Cassius, having murdered Caesar, now lead an army against his partisans. In this scene, the growing tensions between them explode, and lead to an unexpected outcome.

38. Henry the Fourth, Part Two: Act 4, Scene 5
Prince Hal finds his father asleep, assumes he’s dead, and helps himself to the crown. When Hal returns, Dad’s awake, and the two of them have at it. And at the end of the scene, the prophecy he’s been talking about since like two plays ago is fulfilled.

37. Othello: Act 4, Scene 3
A quiet scene between Emilia and Desdemona before all hell breaks loose. This is a study in contrast between the innocent naif Desdemona and the world-wise Emelia.

36. Macbeth: Act 5, Scene 1
Lady Macbeth has been a rock through all of the killing and deception that put her husband on the throne. But now she’s sleepwalking, and everything comes out. Except for that spot of blood.

35. King John: Act 4, Scene 1
King John has sent Hubert to murder the young Arthur to eliminate his challenge to the throne. But the boy talks Hubert out of it. Shakespeare wrote this play after losing his own young son to the plague.

34. Romeo and Juliet: Act 2, Scene 2
Well, what can I say? It’s the balcony scene.

33. Much Ado About Nothing: Act 4, Scene 1
Hero is disgraced by Claudio at their wedding and her cousin Beatrice is beside herself. Claudio’s friend Benedick stays to comfort her. And amid this emotional turmoil, they confess their feelings for each other. He tells her he’ll do anything for her. Her response: “Kill Claudio.”

32. Hamlet: Act 5, Scene 2
Talk about a big finish. This scene is so imprinted on our collective psyche that it almost turns invisible when making a list like this. Almost.

31. Julius Caesar: Act 3, Scene 1
I really like the pacing of the lines just before the assassination. After the deed, the killers are so sure of history’s favorable judgment. And finally comes Antony’s stirring monologue. But my favorite part of this scene is the first two lines.

30. The Taming of the Shrew: Act 2, Scene 1
The first meeting between Petruchio and Kate. Need I say more?

29. King Lear: Act 4, Scene 7
Lear is rescued by and reunited with the daughter he banished. His mind is nearly gone by now, but as he begins to recognize her, he is deeply ashamed of his earlier behavior.

28. Macbeth: Act 3, Scene 4
King Macbeth sees the murdered Banquo at a banquet, but nobody else can see him. Is this the ghost of Banquo come to haunt him, or another hallucination brought on by guilt?

27. Twelfth Night: Act 1, Scene 5
Here we see the first meeting between Olivia and the disguised Viola. At first, Olivia toys with the youth, but then realizes that there’s more to this young “man” than meets the eye.

26. Richard the Second: Act 4, Scene 1
Richard’s reluctant abdication paints a portrait of a man who never asked to be king, but can’t quite give it up. It’s a moment in English history that sparked enough strife for no less than eight Shakespearean histories.

The Top Five and Twenty

As long as we’re making lists, how about our top five scenes? I made my list (see below), feel free to play along in the comments, or on your own blog, or both. As before, this list is based on my own personal preferences at this particular moment. I’ll be using the scene divisions from Bartleby.com.

And, as before, my top five list has twenty-five entries. Enjoy!

25. A Midsummer Night’s Dream: Act 5, Scene 1
I had to include the Pyramus & Thisby performance at the end of Midsummer. The happy ending to the real story has already come, and now we can just relax and enjoy the show.

24. Hamlet: Act 3, Scene 4
The effect of Hamlet’s berating his mother in her bedchamber, and raising the tension until it is released by his killing Polonius, is devastating on stage. When the ghost arrives, we must listen.

23. King John: Act 1, Scene 1
Robert Faulconbridge claims that his brother Philip is a bastard, not entitled to his father’s lands. King John and his mother recognize the madcap Philip as natural son to the late King Richard, and welcome him into the royal family.

22. Richard the Third: Act 1, Scene 2
Richard has killed Anne’s husband and his father. He woos her and wins her hand, reveling in overcoming impossible odds. There is some really elegant use of language in this scene.

21. The Comedy of Errors: Act 3, Scene 1
This scene cracks me up. Antipholus of Ephesus is locked out of his house, because his wife thinks he’s inside. Actually, it’s his long lost twin brother. The rolling verse makes the scene.

20. Twelfth Night: Act 2, Scene 4
Viola is in love with Orsino, but he thinks she’s a boy. She tells him of her love using a supposed sister. Orsino is in love too, and both of their passions are stirred by a song. This scene “gives a very echo to the seat where love is throned.”

19. Measure for Measure: Act 2, Scene 4
Angelo has sentenced Isabella’s brother to death, but he offers to release him in exchange for sex. She tells him to stick it. But now she’s in a bind. In the hands of talented actors, this scene kills.

18. Henry the Sixth, Part Three: Act 1, Scene 4
The Duke of York has made a claim to the throne, but now is captured by Queen Margaret who taunts him with a paper crown and a napkin dipped in the blood of his dead son. He curses her, and she has him killed. “Off with his head!”

17. As You Like It: Act 5, Scene 4
Rosalind and Celia reveal their true identities to their astonished lovers. And if four weddings and some songs aren’t enough of a happy ending, the banished Duke is restored. I couldn’t resist including it.

16. King Lear: Act 1, Scene 1
This scene could be a play unto itself. Cordelia refuses to participate in flattering her father for his land and is banished. But then she weds the King of France and lives happily ever … no, wait.

15. Othello: Act 3, Scene 3
Through subtle innuendo and hints of suspicion, Iago brings Othello from being completely free of suspicion toward Desdemona, to a jealous rage against her.

14. Measure for Measure: Act 5, Scene 1
Shakespeare spent the whole play setting up the dominoes and lets them fall in this final scene. Isabella has a big choice to make, and she takes the high road. But what about her final choice? Shakespeare doesn’t say.

13. Macbeth: Act 5, Scene 7
The prophecies have all come true, but Macbeth isn’t ready to give up the crown yet, let alone the ghost. In defiance of law, of country, of nature, and of fate itself, he fights. And he dies.

12. Hamlet: Act 5, Scene 1
Hamlet jokes and reflects on death with a gravedigger and Horatio before learning the grave is to be Ophelia’s. And the gravedigger started working the day Hamlet was born. Think about that for a moment.

11. Macbeth: Act 1, Scene 7
Lady Macbeth goads Macbeth into regicide by attacking his manhood and questioning his love. He’s against killing the king on moral grounds, until she presents a plan with a good chance of working, and then he’s in.

10. Henry the Fourth, Part One: Act 2, Scene 4
A fun tavern scene with Jack Falstaff telling tall tales, and a role-playing exercise that turns sour.

9. King Lear: Act 5, Scene 3
The sisters undo themselves. Edgar defeats his treacherous brother Edmund. And then Lear dies with Cordelia in his arms. Good has triumphed over evil, but what spoils are left for the victor?

8. Richard the Third: Act 5, Scene 3
The ghosts of all Richard’s victims disturb his rest the night before the decisive battle. In the morning, he and Richmond deliver orations to their troops, contrasting their different leadership styles.

7. Hamlet: Act 3, Scene 1
The “To be, or not to be” soliloquy is great, but the scene with Ophelia that follows is what makes the list. Love has turned to resentment and bitter mistrust. He must continue to play mad, but his actual sanity is now at risk.

6. Julius Caesar: Act 3, Scene 2
At Caesar’s funeral, Antony, who has promised not to speak ill of the conspirators, delivers an oration that turns the crowd against them. It’s a testament to the power of good rhetoric, and the power of love and loyalty.

5. Othello: Act 5, Scene 2
Othello murders Desdemona and then discovers the truth of the plot against him. Othello’s passionate speeches of angst and remorse are contrasted with Iago’s dispassionate demanor after being caught.

4. A Midsummer Night’s Dream: Act 3, Scene 2
The four lovers, giddy with love’s madness, quarrel to the shock and amusement of the fairies. After going to much trouble to set it up, Shakespeare doesn’t let us down. This is just pure fun.

3. Macbeth: Act 4, Scene 1
Obsessed with succession, Macbeth demands answers from the witches, who tell him much more than he really wants to know. The witches’ brew part alone is for the ages. “Double, double, toil and trouble…”

2. King Lear: Act 4, Scene 6
The mad Lear meets the blind Gloucester. Lear’s speech is filled with sense, and yet is nonsense. Gloucester, who has by now realized he was blind when he had eyes, now says he sees the world feelingly. Also notable is Edgar pretending to lead his blind father to the edge of a cliff. Heartbreaking.

1. Richard the Third: Act 4, Scene 4
By the fourth scene of the fourth act of the fourth play in the series, most of the bad stuff that was going to happen has already happened. The widows gather and compare their losses. Then Richard, the cause of their misery, enters. He recieves a blistering rebuke from his own mother. He is then left on stage with his sister-in-law, whose two sons he has murdered. And he asks her for the hand of her daughter, his niece, in marriage. Now that’s chutzpah!

The Shakespeare Geek has posted his top five favorite Shakespeare plays, based on another blogger’s post listing his top five favorite Shakespeare plays.

Man, how can you do that? I tried it myself, but the list got a little out of hand. My top five list turns out to have twenty-five plays in it. Bear with me. Here they are, in the ascending order of my preference today. If I made the same list tomorrow, it might be different.

25. The Tempest - Critics deny this is Shakespeare’s farewell to the theatre, but read it and decide for yourself. Prospero, Ariel, Caliban, and Miranda are unique in Shakespeare, strange for so late a play.

24. Much Ado About Nothing - There is a lot in this play to recommend, but Beatrice and Benedick are the most fun. I’m also a fan of Dogberry the Constable and, in his own way, Don John.

23. The Winter’s Tale - I like this play… not as much as other people may like it, but I like it well enough. There are some great speeches in the play, and more than a few moments that kill on stage.

22. Henry the Sixth, Part Three - The paper crown scene alone should bring this play some recognition. I also enjoy the early character development of Richard Gloucester, the future King Richard III.

21. Henry the Fourth, Part Two - Vibrant tavern scenes, darkly comic scenes, frenetic battle scenes, and one intense standoff between King Henry and his son Hal. Don’t miss the last five minutes.

20. The Comedy of Errors - This play can be a lot of fun if you accept it on its own terms. The scene where Antipholus of Ephesus is locked out of his house is reason enough to make the list.

19. Cymbeline - This is a hidden treasure, filled with great scenes and powerful moments. It has a beautiful fairy-tale quality, strong characters, passionate poetry, and a satisfying ending. More here.

18. The Taming of the Shrew - The first scene between Kate and Petruchio is an all-time classic, and the piece as a whole is a wonderful bit of inspired silliness. The taming can be a bit jarring, though.

17. Romeo and Juliet - I think it would be hard for anyone to make a Top Five and Twenty list of favorite Shakespeare plays and not include Romeo & Juliet. The poetic language is beautiful.

16. Twelfth Night - There’s a lot going on in this play, and it all works on stage. Don’t let the slapstick elements fool you into thinking this is an unsophisticated play. It isn’t.

15. The Merchant of Venice - This is another play with a rich complexity that seems to burst out of its fairy-tale frame, which is what allows the darker elements of the play finally to surface.

14. Henry the Fourth, Part One - Who could resist the irrepressible Falstaff, and his relationship with the young Prince Hal? This play has my favorite tavern scene, and lets not forget Hotspur either.

13. King John - Shakespeare wrote this play just after the death of his eleven-year-old son, and the influence of that event on this play is breathtaking. Also, the Bastard is a character well worth knowing.

12. Richard the Second - For God’s sake, let us sit upon the ground and talk about the richly complex symbolism and beautiful flowing poetry in this play. Go and fetch me a looking glass.

11. Antony and Cleopatra - It’s a love story. It’s a war epic. It’s a geopolitical thriller. It’s the greatest story in history told by history’s greatest storyteller. This is not your high school Romeo and Juliet.

10. Henry the Fifth - This is a tight, passionate, stirring play. It’s also a Rorschach test for how you feel about war. Each scene is a mini-masterpiece, and the use of language is extraordinary.

9. Julius Caesar - This powerful tale of politics, rhetoric, and betrayal in Ancient Rome may be a schoolhouse classic, but it’s a better read as an adult. I find myself coming back again and again.

8. Measure for Measure - Darker and more overtly sexual than most of Shakespeare’s other comedies, this play explores both the depths of depravity and the better angels of human nature.

7. As You Like It - This Shakespearean fairy tale is filled with laughs, love, and music. Shakespeare knew what audiences liked, and he gave it to them in this aptly named comedy.

6. A Midsummer Night’s Dream - One can only imagine what the effect must have been of having fairies and nobles and workmen wrapped up in the same story on stage. One for the ages.

5. Othello - This is a true masterpiece: in characterization, plot structure, emotion, pacing, poetic language, potency, and thematic cohesion. This is how to write a play, my friends.

4. Macbeth - I’ve always found this play extremely riveting from beginning to end. The witches prophesy Macbeth will be King, setting a chain of events irrevocably in motion. Spellbinding.

3. Hamlet - Never before or since has there been such an intimately detailed character study. Was he mad? My father once said, “if you took that close a look at any of our minds, we’d all seem mad.”

2. King Lear - I make new discoveries every time I read this play, and not just discoveries about the play. This may be the greatest thing ever written in the English language. I may never fully grasp it.

1. Richard the Third - My personal favorite, and a guilty pleasure at that. Somehow, Shakespeare makes us root for the bad guy. Is there a secret evil genius within us that he speaks to? I’ll never admit to it.

So those are my top five favorite Shakespeare plays. Feel free to post your top five favorite Shakespeare plays in the comments, however many there may happen to be.